Jump to content

Gnome in Plaid

Members
  • Posts

    944
  • Joined

  • Last visited

Posts posted by Gnome in Plaid

  1. I think he truly was the greatest composer of the post-war era.  I find everything he wrote phenomenal, even the post-1970 works that didn't get the same degree of critical attention.

    6 hours ago, Pawel P. said:

    I had an interview with Maestro eight years ago. Extremely nice man. During the interview, I asked, among other things, whether he was tempted to write something for a film himself, since his music was used by great directors, such as Kubrick, Scorsese or Wajda.

     

    "I don't want to waste time," he replied. "Besides, it would be a transition to the 'other side', which I don't want to do.

     

    "Other side?" I asked.

     

    "Look at John Williams. He composes very good music, various symphonies and concertos, he is comprehensively educated, he conducts, but everybody knows him only as a film composer. Similarly Ennio Morricone - even when he writes a mass, it's not as good and known as his film music. I think I'll stay on this side!"

     

    https://kultura.onet.pl/muzyka/gatunki/klasyka/szkoda-czasu-na-film/jn34jqn

     

    Didn't he write scores for a few films in the 60s?  I was also under the impression he composed some new music for Katyn, but I've only seen the film once and that was when it was released before I really had any knowledge of his music.

  2. I hadn't listened to Call of the Wild before this thread, but I think it's now my favorite John Powell score.  It and Balto are both fine scores (the latter's poor mixing and inconsistent tone aside), but Homeward Bound is a masterpiece.

     

    On 3/2/2020 at 10:33 AM, Kasey Kockroach said:

    Homeward Bound over Call of the Wild, Call of the Wild over Balto. 

    This, but Balto has the best single cue of any of them ("Heritage of the Wolf").

    On 3/2/2020 at 9:14 AM, Fargo said:

    I've never listened to Balto. Is it as good as House of Sand and Fog?

    No.

  3. Rick and Morty.  It's... weird.  I'm not sure why it's so polarizing...  It's not bad; it's not ground-breaking or great.  It's just an above-average Adult Swim-style show that has mostly stupid humor but fairly clever storytelling.  I have to say I'm looking forward to the future of the show, though.  Being guaranteed 70 additional episodes could give them a lot of flexibility that other (probably more deserving) shows never got.  Now if only Brockmire got that long a rope.

  4. 11 hours ago, First TROS March Accolyte said:

    I estimated the maximum accuracy of the Best Score / Best Dramatic Score Oscars so far.

    Maximum, because there might exist some better yet not awarded scores also in the years where nothing came to my mind / I didn't know of any.

     

    Can't bother with more accurate maths or more detailed presentation:

     

    3:3 (1933-1939) =< 50%
    5:5 (1940-1949) =< 50%
    3:7 (1950-1959) =< 30%
    3:7 (1960-1969) =< 30%
    3:7 (1970-1979) =< 30%
    1:9 (1980-1989) =< 10%
    3:7 (1990-1999) =< 30%
    3:7 (2000-2009) =< 30%
    2:6 (2010-2018) =< 25%

     

    26/84 ~ 31 [%]

     

    To quote Toscanini: "You have no ears, and no eyes. Nothing at all".

     

    If this decade were to uphold the typical standards of 30%, TROS would have to win. The last time Williams was so dominating as this decade, however, the accuracy was at an all-time low.

     

    So anything goes!

    I haven't agreed with a Best Original Score pick since Return of the King.

  5. I think the credits said it was the Montreal Symphony.

    14 hours ago, thestat said:

    As for the Song of Names, I don't see them nominating this for anything. The film looks terribly cliched - and if you have Clive Owen in the cast, why not show him? While Shore's score will be a marvel, it will be one in a long line of similar projects with critical prestige but total oblivion elsewhere.

    I really didn't find the film cliched at all.  Also, just showing any of Clive Owen's scenes would be a significant spoiler.

  6. On 7/11/2019 at 6:16 PM, Fabulin said:

    The 1994 Lion King OST was like orchestral soul music. Half of the instrument and rhytmic/melodic choices were quite haunting. This one sounds like Black Panther mixed with Epic Trailer Music, which to me breaks most of the dramatism. At first I was actually kind of boiling internally, because to pollute a rather delicate score with the aesthetic of 2010s pop soundtracks is bafflingly sacrilegious. That being said, the reimaginings of the two action cues are quite good as far as the use of themes goes. Remind me of the score to the sequel more than the original.

    And I really liked this moment:

    "Mufasa don't die pls:(

     

    Well put.  It really sounds more like an amateur mock-up of The Lion King than something new: "sure, it's good, but it needs more Zebra and amplified solo cello."  I'll admit I do like some of the choral revisions in "The Stampede," though.  It's also baffling just how badit sounds at points.  Something's really off with the tuning in a couple places.  It's really a shame; the suite on the "World of Hans Zimmer" album was so well-done and I had hopes the new album would be in that vein.

  7. So, I was originally going to come here to ask about some of the underlying "harmonic bed" in "Coffey on the Mile" from The Green Mile, but the album credits seemed to answer my question (bowed travelling guitar, saz, solo violin, some synths, and bowed dulcimer).  Those same credits gave me a new question: what the hell is a tonut?

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.